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Hello world I have been gone for a minute but I'm back with a real jump off for you this time! Oh by the way, did I forget to ask you how your extended Easter holidays were? OK so how were you Easter holidays? Anyways enough of the chit chat, please walk closely with me on this one

When this particular album was sent to me, on first sight the thought in my head was and I quote, "wow Festac 77" but on a closer look at the album cover art, I could not help but admire the concept behind the design (shout out to Lloyd Cooper) - a really art inspired creation. Now my thoughts start to race as I hear murmerings of myself directed at no one in particular saying, "i hope this lives up to the expectation". I clicked play and can I just say that the rest is history.

21 year-old Blink - real name Nelson Agose - was born in Abia State (Eastern Nigeria) and raised in Lagos State until his teenage years. At age 16, he moved to America to pursue a degree in Economics, which in August 2010, he obtained from the University of Illinois Urbana champaign.

The World Is Small is his debut album and this album tells a story of a traveling boy, interacting with the circumstances and situations he finds himself in life and how he uses those experiences to grow into a man. The experiences which are common to most people in the same circumstance include music, culture, race, religion, education, sex, and nationality but what makes Blink unique is his ability to fuse all of these into this interesting masterpiece, making good music for the ear.

The album kicks of with 'Dreams of A Winner' which serves as an apt beginning to the story on The World Is Small. On this record, Blink proclaims that he's ready for "blast off" as he speaks to his listener about his continued journey to achieving his dreams while remaining grateful for his present blessings as he seats somewhere "on coach" where he conjures up these "international dreams"… 'Dreams of A Winner' is a really chilled-out record which speaks volume about personal motivation and did I mention that the hook on this track is hella infectious plus the mellow drum-kicks infused production by Baron Boys is just straight fire. Listen below...

"Dreams of A Winner":

"I'm still dreaming like a winner/ but living like a sinner/ but my blessings are more so thank God for forgiveness"

The album moves further into a more conscious space with the song titled 'Pay Attention' and pay attention is exactly what you need to do on this drum and horns-led track produced once again by Baron Boys. On this one, Blink referring to himself as an "artist and thinker" goes in on everyone and everything from selling out in his music to fake rappers to ignorant listeners to the Church to Science to the media and even down to lack of electricity in his home country, Nigeria all in little over three and a half minutes. Check it out below but please make sure you 'Pay Attention'.

"Pay Attention":

"The truth is a blunt u got to take a hit/nowadays u make dollars u aint gatta to make no sense/so should i bring change or make sense?"

The 16-track album also features loads of exceptionally good Hip-Hop tracks such as the thumping and bass heavy "The Countdown", the incredibly catchy and infectious banger "Super" which sees Blink and The Baron Boys on 100% top form plus the braggadocious "Everywhere I Go", "Road to Riches" which features G.o.d jewels and the solemn, hard-hitting and very profound "Blanket of Dreams" which is backed by heavy keyboard arrangements and vocal from SLV. The song sheds an in-depth light on the problems and troubles facing his home country Nigeria and asks the poignant question of where the nation is going after 50 years of independence - a worthy listen by all accounts.

However, the final track I've decided to share (only because I've simply fallen in love with the tune) is the smooth and soulful key board-driven 'Jet To Lagos' backed by lush drum kicks and features Nigerian rapper Lynxx and singer Teeklef (can I hear you say "utunu") and in Blink's own words,

"Even though I have experienced four winters in America, I'm still not used to the Illinois cold or the Chicago wind… Since the first time I came to America, I spent every Christmas break from school back in Lagos Nigeria. This song describes what my experience on the way back home is typically like and what life on the good side is like back home… Jet to Lagos"

I could relate to this song in every aspect of it as this reminds me so much of home and any one in diaspora will get this "catch a plane back home" feeling once you hear this record, especially if you are African... Still missing home? OK click play below and "Jet to Lagos"...

"Jet to Lagos":

The World is Small makes for a very good listen especially for a debut album and at a point where a lot of so-called "hip-hop" albums are laced with meaningless party songs, true Hip-Hop heads and aficionados will love this album as it addresses relevant individual, community and world issues while still keeping that braggadocio as Blink tells a good story that fuses culture, politics, sex, education and religion into one very G.O.O.D record. The young emcee sums up the album nicely in his own choice words and we will close out this piece with them:

"I am not a conscious rapper, I am a semi informed citizen of this world. It helps to THINK and ASK before you BELIEVE anything. Just a simple way to keep TABs on real life - The World is Small." - Blink

As an artist, if you have talent and you've got the "swag" to go with it then that's a double whammy, right? Now quadruple that and you've got four times your attention's worth in these featured artists. Over the course of time, "boy groups" from the Commodores to Boyz II Men have always had the ability to have effect of sorts on their listeners and while it would be premature to draw comparisons with those legendary groups and this here featured act, allow me to bring to you an evolution of the "boy group" in this new generation. They go by the name: FOUR KORNERZ - four biological brothers coming together to make good, inspirational music.

The London based-quartet is led by eldest brother Charles Deji Juba (lead vocals) and made up of TJ (keys/vocals), Vidal (drums), Daniel (Electro-vocals). A multi-award winning band already, Four Kornerz are set to release their new single "Superstar" next month (May 2). The single will serve as the band’s first officially release since their 2007 debut album 'Soulectric' and by all accounts, it sounds to be well worth the four year wait for some new music from the group.

Four Kornerz definitely had the ladies in mind when they wrote their new song - the bass heavy uptempo and catchy "Superstar" - which proclaims that they (females) are superstars and encourages all the females out there to believe in themselves and reach for the top. Coming from a set of cool dudes like Four Kornerz, I bet that their female listeners will certainly believe their message. Listen below:

"Superstar":

"...Love is gonna take you around the world, gonna give you more than diamonds & pearls, you gotta believe...Baby, you're a superstar...."

The lead vocalist, Deji delivers his trademark soulful vocals while the rest of the guys do their thing with the music giving it a "doowop" swing, making you move to the music as the message sinks in. Deji says of the song:

"the song was inspired by a lot of things. A large part of the story behind this song is based on the unrealistic body-type expectations mounted (on) us in today’s popular culture. The lyrics are more specific to women as I think the pressures on them are more extreme from things like size zero, cellulite and botox. However, both men and women can embrace the universal message in the song; Celebrating how awesome and wonderful you are".

"Superstar" is produced by Scsi who is part of the Four Kornerz production team and draws influences from the Soul artists of the Motown era as well as more modern chart toppers like Bruno Mars and Jamiroquai.

Preceding this new record, Four Kornerz independently released their debut album 'Soulectric' (2007) which featured gospel and inspirational songs as "Clap Clap" and "Gonna Make It". "Clap Clap" is a very danceable song with more upbeat instrumentation led by lush keyboard chords, drum kicks and soulful harmonies. Deji impressively goes jazzy with his scatting skills. The Neo-Soul elements of this song's musical ornamentation and accompaniment are very evident. The lyrics tell you to dance, so does the music.

On the other hand, the Control S-Club Mix of "Gonna Make It" has a distinctively uptempo Electro-Funk/Boogie vibe to it and with it being a club mix, that's quite understandable. The message of this song is very clear and quite compelling despite the record being a club dance track. "Gonna Make It" addresses and challenges the perception of self and how image does not determine one's success, that you're "gonna make it" no matter what others think or say about you. The lyrics were stylishly rushed but distinct and well delivered.

Adeptly inspirational in content, Four Kornerz uniquely create their music with an appealing electro-digital edge to it as you will have clearly heard on the songs above and FourKornerz are definitely topping my list of favorite Gospel artistes coming out of the UK. I am particularly drawn to their eclectic musical creativity and sound. It's Gospel yet fun, it's playful yet deep.The personality and message of their songs show through effectively and fits in perfectly with a mainstream mix. Four Kornerz music is boundary-less - you can play their music on the radio, at a party, in church or in your car. You enjoy it all round - it is spiritually effective, physically active and soulfully uplifting. Get their upcoming album to understand what I mean. I guarantee no regrets whatsoever!

Furthermore, Four Kornerz as a band are equally as sublime in their recordings as they are performing live! The band will feature new songs and a sneak-peek into some brand new material from their forthcoming project at their London concert taking place next Wednesday 27 April, 2011 along with supporting acts - emerging songstress Dionne Reid and popular Gospel artist Guvna B. On the night, fans will also have the opportunity to download a free exclusive Four Kornerz track.

“We are taking a different approach towards the Four Kornerz brand. It’s not just music but a whole creative process which will see us enter into other fields like a digital graphic novel which will accompany the Superstar release. More on that little venture soon.” - Deji (Four Kornerz)

Four Kornerz Live in Concert takes place on Wednesday (27 April) at 229 The Venue, 229 Great Portland Street, London W1W 5PN with the show kicking off at 7pm. Tickets are £10 (+ booking fee) in advance and more on the door. For more information and to book your tickets, visit: www.fourkornerz.com

Hey G.O.O.D folks, I hope there’s some space on your iPods because this is one artist I guarantee you’ll be listening to all week. I first came across Jhené Aiko when I wrote the piece on Kendrick Lamar a little while back and when her single popped up on one of my daily blog lists, I just had to get her mixtape.

Jhené Aiko Efru Chilombo simply known as Jhené Aiko is a 23-year-old American R&B singer-songwriter born to a multicultural family - her mother is Japanese, Spanish and Afro-Dominican while her father is African American, Jewish and Native American. Jhené, like quite a lot of other artists, was introduced to music at a very young age and had the privilege of meeting music producer and artist manager Chris Stokes when she was only five. In later years, she finally got to sing for him and got signed to Epic Records; at around the same time as R&B boy group B2K (Omarion, Raz B et al).

Jhené - who at the age of fifteen had relative chart success with her first single "No L.O.V.E" reaching number 5 on the US R&B Billboard charts - has had a few of her songs featured on soundtracks to hit movies such as Barbershop, You Got Served, and The Master of Disguise and also featured on quite a number of records and releases with her then label mates B2K. After walking away from her contract with Epic Records and taking time out of the music "industry" to complete her education and becoming a mother, Jhené Aiko is now focused on trying to save the world with her music. I plug to you her debut mixtape Sailing Soul[s] which was recently released on her birthday - March 16, 2011.

The first track I'll be sharing with you from Sailing Soul[s] is 'Stranger', one of the strongest songs on the mixtape and definitely a good way for you to sail on your musical journey into Jhené Aiko’s world. It features light vocals from Jhene as she painstakingly stays in the same vocal range throughout the song, laced over minimal keyboard arrangements, drum patterns and backing harmonies. In simple terms the lyrics convey the message; all men are the same as her relationships all tend to be comparable. The song is nicely arranged and written and the listening ear would be longing to hear more after this one...

“you said you were different but you’re the same stranger”

"Stranger":

This next track 'July' features Drake and is quite an old record which was done a couple of years ago but still sounds just as fresh as if it was recently recorded - remember when this song leaked around the time before Drake released his debut album and we all thought it was from his album. Noticeable though is Jhené who seems more like the featured artist on this one. She sings mostly on the chorus and parts of the hook while providing lush adlibs with rapper Drake handling all 3 verses with his [virtually] never failing wit. The song houses clever lyrics from Jhené relating the relationship in weather-like terms. Their fights in the "Summer" highlight that it isn’t their season leading them to breakup in the "Fall". The title of the song is also pretty apt as listening does lead you to imagine a perfect summer day in July.

“they always say the hottest love has the coldest end”

"July":

Remember hearing the phrase, "Women are from Venus, Men are from Mars" when you were younger? Without having to think that far back though, we’ve also heard songs of similar titles from Jay-Z and Usher in more recent times - which brings me to this next track from Jhené Aiko - the drums-infused 'Space Jam'. The song literally expresses a situation where she and her significant other are from two different worlds. It highlights the issue of communication in relationships but then goes on in the end to attest that you can actually come together to [form your own world] meet on common grounds. Just like the other tracks on Sailing Soul[s], this is another impressive one from Aiko and would probably be right up there on your most played tracks on the mixtape.

“we come from two different worlds, but there’s only one us”

"Space Jam":

A case of saved the best for last - well you be the judge of that but the last track I'll be plugging to you from Jhené Aiko's Sailing Souls is the guitar-led 'Higher' backed by glorious keyboard and drum arrangements. I mentioned Jhené's wordplay and lyrical dexterity earlier but this song is unquestionably a better implementation and showcase of it. On this song, Jhené refers to herself as the catalyst into getting a guy "high". The mellowness and light delivery exudes innocence on ironically what could be the sexiest song on the album. A very well thought out song even to the tiniest details as you hear hints of someone starting up a light in the background. It infers quite a lot of innuendos I doubt Jhené even realizes herself but the track is smoking and the pun is very much intended.

“love is the drug that gets me high”

"Higher":

Some of the major likes on this mixtape are the fact that the backing instrumentals used on Sailing Soul[s] are never too heavy as to overpower Jhené smooth and sultry vocals - vocals of which provide some of the highlights on this mixtape plus the much welcomed presence of beautiful and meaningful lyrics from the 23 year-old - something R&B music tends to be lacking lately plus the mixtape does a great deal in showcasing a wide range of her talents - from her songwriting skills to her ear for music down to those captivating vocals. Jhené is definitely an artist that knows what her sound is - what I refer to as “New Cali R&B” [think Miguel]. I like it and I hope you do too. As Ebert and Roeper would say – two thumbs up!

Hello people! Apologies for my inability to bring to you more quality music on a regular basis. Its my bad, honestly. But dont worry, I'm back and its all G.O.O.D MUSIC... Anyway, today I'll be plugging to you a certain Gospel Grime/Hip-Hop artist by the name of Franklyn. His mixtape came out in December last year but it just got to me a week ago and to be honest I have been bumping it on replay ever since...

Franklyn is a burgeoning rapper from Hackney, East London (can I hear a #TeamUK?) who's been making various appearances in the UK Gospel urban music scene for about two years now. With appearances on projects by several veterans on the scene such as Victizzle, Guvna B and Cadet, you can tell that Franklyn has been about and this recent solo project from the rapper was bound to be quality.

Anyways, lets cut right to the chase... The tracks you are about to hear are an extract of Franklyn's mixtape aptly titled 'Just being Frank'. Right off the jump, I should say that one thing I particularly like about this project is it's production... The production on the mixtape from beginning to end is just epic and what's even better is that Franklyn doesn't let the quality of the beat overshadow his lyrical dexterity all over this mixtape....

Okay, the first track you're about to listen to is called "These MC's" and as the name suggests, it is a straight shot directed at other emcees and "fake" rappers making up false stories all in the name of spitting a hot verse but it also comes from a different angle in which Franklyn attests to his lyrical ability as well as his relationship with God. The track also features Brewer, who I must say, is a very talented young man. The production on this tune is actually very sick courtesy of Confectionery, it sounds Grimey with that fusion of Drum and Bass.

"These MCs":

This next track is called "Internal Bleeding" and it features the lovely Lola Godheld (who I must say is an amazing live performer). You see, when I review gospel artists, I do not just want to make it to be about how they are so into God because I feel as much as that is important, they (Gospel artists) have to be able to bring that top drawer quality of music regardless. With that said, this track from Franklyn is an amazing song! The message relates to everyone because we all have those moments when we think the world is against us and we think God is punishing us for things... Lola Godheld handles vocal duties on the chorus rather perfectly... Jheez!

"Internal Bleeding":

I actually feel like I should review every song on this mixtape because they're all definitely worth mentioning but because we gotta leave some songs for you to check out for yourself, the final song I'll be plugging to you from this mixtape is titled "Hear My Cry". On this one, Franklyn completely asks God the questions we all ask most times and having done that, he switches roles and answers the questions in a way full of wisdom that you would completely doubt his age if you knew it... The track features and is produced by Victizzlewho I must say is some kinda Gospel "Timbaland" the way he works both the instrumentation and auto-tune on this song in such a perfectly blended style, check it out below.

"Hear My Cry":

The talent that Franklyn has got is undeniable and especially evident when you listen to the mixtape in its entirety which you most certainly should do. It will sound all the more better when you realise that this emcee is only 16... I am excitedly anticipating what Franklyn grows up to be and if he continues like this, I just know that I'm gonna be plugging him again to you soon. In the meantime though...

My first encounter with this 20 year-old performer was when I had the opportunity of interviewing him after a recent performance at a live music showcase in London. Not only was I intrigued by his unique singing style and lively stage persona, but I was also taken aback by the energetic personality and showmanship that instantly bubbled to the surface during our interview. Not content with a standard question and answer session, Shakka jumped, sang, shouted, laughed, joked and ‘smoozed’ his way through the interview. I guess this first interaction was a taste of things to come from Shakka and in hindsight, was a very accurate portrayal of this singer/songwriter/producer.

Born to Dominican parents, Shakka Philip was birthed into a musically eclectic world of Dub Reggae, Hip-Hop, Motown and Garage. With Notting Hill setting the scene for his childhood, Shakka’s appetite for all things melodic stemmed from the role his Father played as a guitarist and producer of a Reggae band by the name of ‘The Foreigners Crew’, a band which Shakka went on to play the keys and sing for. Secondary school, Saturday music school and the local youth centre expanded Shakka’s music production and recording experience and further strengthened his creative and musical foundations... Which leads us to why we are here - Shakka Phillip's latest mixtape release by way of The Shakka Crown Affair.

In musical terms, the word "cover" may conjure up thoughts of an artist simply replicating an original song by another artist and this is not entirely a bad thing when done well enough because they do say that imitation is the highest form of flattery… And then there is Shakka - not content with the possibility of his most recent musical offering being labelled as merely a "covers" mixtape, the singer, songwriter and producer presents the world with the conceptual The Shakka Crown Affair. Far from simply snatching instrumentals and replicating the original composition, this young upstart stomps all over the tracks leaving a Shakka-shaped footprint... miraculously without damaging the original foundations.

The concept for the mixtape is "borrowed" from the 1968 film The Thomas Crown Affair where screen legend Steve McQueen plays a millionaire businessman who fearlessly ventures into the world of crime to cure his boredom and satiate his appetite for adventure (the 1999 remake starring Pierce Brosnan follows the same vein and sees Mr. Crown painstakingly plotting to heist a Monet painting). Shakka's mixtape - The Shakka Crown Affair - centres around the hero stealing numerous priceless music artefacts to use for his own personal amusement while we (the listeners) are updated about his progress via the humorous skits which seamlessly weave through the mixtape.

"Borrowing" the instrumental foundations of songs from prolific and/or popular artists such as Coldplay, Jay Z, Young Money, Calvin Harris and J. Dilla, Shakka uses an amalgamation of storytelling, singing, rapping, comical adlibs and musical interludes, wrapped in a layer of dry humour with sprinklings of undeniable charm to deliver this quirky 11-track mixtape.

So without further delay, let's get stuck in!

The introductory skit flows freely into the opening track, which allows us to follow Shakka’s ‘Chicken Legs’ through his musical journey thus far. The song tackles the realisation of his creative talent, peer pressure and resentment that almost threw him off course, but ultimately contributed to finding his musical identity. Sleepy Brown's 'I Can't Wait' provides the backdrop for this journey from adolescence right through to current day, highlighting his hunger and impatience to reach the dizzying heights of critical acclaim that many of his peers experience, as he awaits on the sidelines. 'Chicken Legs' demonstrates Shakka’s readiness to claim what he seems to believe is rightfully his:

On this next song - 'Take Our Time' - Shakka beautifully touches on the realization that in one way or another, we have all experienced heartache and sometimes we’re not capable of assessing the magnitude of that pain until we embark on another relationship. This song addresses the fact that we need to allow our loved ones the opportunity to heal by simply allowing them to talk, while we listen... and that we shouldn’t be afraid to communicate this to our significant other if necessary. ‘Take Our Time’ suggests that this can only be achieved by moving at a more comfortable pace and although this particular subject matter fails to escape Shakka’s trademark humour, it successfully makes its point.

“Do you mind if we take our time? ‘Cos I’ve been here before, and it nearly took my life. Do you mind if we take our time... and take it easy?”

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://shakka.bandcamp.com/track/take-our-time"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Take Our Time by Shakka&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;ampamp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;a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Calvin Harris' 'Neon Rocks' serves as the appropriate foundation for Shakka to create the speaker-rumbling track that is this next song titled 'Spaceship'. We are gently eased in by Shakka’s trademark harmonies. The melodic and mellow introdction gives way to the thumping bass line and noticeable tempo change that makes this so much more than a mere "cover". I predict that this infectious track will be a firm favorite with the listener. A definite foot-tapping, head-nodding tune upon which Shakka adds his own unique delivery and quirky lyrics:

“I’m whipped, it’s true but I can chill in my spaceship, thinking of you. Facebook picture on my desktop, slowly winking at you...”

Whereas Coldplay's original 'God Put a Smile Upon Your Face' record has dark and sombre undertones, Shakka flips this sentiment by accelerating and cleverly altering the composition and tempo of ‘God Put a Smile on Your Face’. Add Shakka’s upbeat delivery and quirky adlibs and this song is instantly uplifted and firmly placed into the 'feel good' category. Despite the clear alteration of mood, Shakka keeps many of the original lyrics but of course, it wouldn't be true to form if Shakka didn’t add his own wacky lyrical content in some form or fashion:

“I want a day off. Tell him that I’m sick. That my medicine is some tissue and an empty tub of Vicks. I can’t come into work today, I’m getting too much licks...”

If you don’t take to this track straight away, it will definitely grow on you.

Although each song has more or less been completely reworked to make it original in its own right, 'Driving' which you're about to listen to is the sole original track on this mixtape. A piano serves as the only accompaniment to Shakka's mellowed vocals - stripped down to basics - this song comes as a stark contrast to the majority of The Shakka Crown Affair. The energetic and vibrant Shakka heard throughout the mixtape subsides to reveal a more mellow side of himself, making this fearless artist more endearing in his vulnerability.

'Driving’ is a story of a young man embarking on an arduous journey, baggage in tow. Disregarding the adverse conditions and unsure of how he will reach his destination, he is assured only by the fact that his determination will get him there eventually. A young woman suddenly appears in a car and offers him a lift to his destination - he eagerly accepts her offer and they embark on a journey together and the young singer is even willing to alter his original path just to prolong the time spent with the young woman while she swiftly disregards the possibility that he could actually be a danger to her life. They decide to take the risk and after an uncertain and sometimes turbulent journey, they eventually grind to a halt and venture into their new destination.

“I don’t care where I go, the night’s still young // Long as I’m staying with you I’ve no need to run // We can drive and drive and drive and drive ‘til my pocket runs out of fuel”

Shakka’s eclectic concoction of musical knowledge, experience and musical influences all serve as the diverse marinade in which this mixtape has been birthed in. If The Shakka Crown Affair is an accurate depiction of the artist Shakka wants to be received as, then I rub my hands together in anticipation of what is to come. This multi-layered mixtape provides the listener with a heady mix of unique vocals, humour, bumping basslines and melody.

If you listen carefully, you can hear the theme of travel expertly threaded through this mixtape - Shakka invites us to walk in his ‘Chicken Legs’ then gives the instruction 'Let's Ride'. He goes on to declare that he can chill in his 'Spaceship' before he disappears into the sunset 'Drivin' and whether this was done intentionally or purely by coincidence remains to be seen but if like me, your eardrums have a low tolerance for the Euro-Pop sound over-saturating the airwaves nowadays, this is a journey you MUST take.

On The Shakka Crown Affair, Shakka casually brushes off expectations by defiantly going against the "generic R&B crooner" mold to give us a fresh perspective. The young singer maintains his British accent and does have the tendency to defiantly sing at the top of his lungs - often leaving me clenching my teeth until he makes that high note (which he always does). Fortunately, this adds to the unique quality of his voice and gives this mixtape an unapologetic rawness.

The intricate harmonies heard throughout this body of work cut through the rawness to make it all-encompassing. This combination contributes to a multi-layered effect that keeps the listener interested in what Shakka has to say. Some of the lyrical content may seem wacky at times but I suppose this gives the listener a deeper insight into the experimental artist that Shakka is... And with that, I leave you with The Shakka Crown Affair